Hello sir Kodabmx
SHL 3300uf 35V costs me about 4pcs/$USD
And like you said that NXH is better, Well I knew that too and already bought some
And what a wonderful thing is that I paid kinda similar price for NXH 1000uf/35V 105°C
Can you please help me decode the date code
I already have bought NXH
But didn't bought SHL yet because I was not sure about 85°C and 2000 Hours rating
Now I'll contact my supplier for NXH again and trying to get more of them
SHL 3300uf 35V costs me about 4pcs/$USD
And like you said that NXH is better, Well I knew that too and already bought some
And what a wonderful thing is that I paid kinda similar price for NXH 1000uf/35V 105°C
Can you please help me decode the date code
I already have bought NXH
But didn't bought SHL yet because I was not sure about 85°C and 2000 Hours rating
Now I'll contact my supplier for NXH again and trying to get more of them
Oh nooooo someone might say those extra copper wires use in stacking will create noise pick up & add inductance. LOL
Me thinks great idea Carlsor. Kudos
At the moment I am experimenting with Russian Teflon's for RIAA. The intention is not necessarily that the outcome sounds best, rather to the extent of being most analytical and revealing without tipping up the upper registers. This is to suggest that the outcome borders on a love/hate kind of relationship in the production. My question is if you have tried the V-cap CuTF in the RIAA, or other teflon caps, and what. experiences you have had in the sonics?
Teflon is very analytical to the point of sterility. It takes all of the life out of the sound in my experience. The low end seems to recede into the background while in the same circuit a good poly cap has better balance and natural tone. Just my opinion. Plus they are very expensive compared to other types. Try polystyrene if you want clean pure sound with no losses.
Good teflon capacitors (for example russian FT-2, FT-3 or V-Cap CuTF) are comparable to good copper or silver folie condensers (for example Jupiter, Jensen/Audio Note or Duelund).
Each of them has has advantages and disadvantages, but it's sound a matter of taste.
If this capacitor is well braking in (teflon capacitors need minimum 400 hours!, but other folie ones also requiring some hundred hours), the tone "difference" is minimal, and it depends on personal taste.
I use all of listed capacitors for decades, and nowadays mostly use teflon capacitors.
The clarity of good teflon capacitors mostly outperform folie capacitors .. except excellent -and expensive- ones (like Duelund silvers).
Russian teflons are "simpler" than V-Cap, but -for me- are better than "average" -good- folie capacitors ... and mostly cheaper.
Sometimes I use them with paralleled -smaller- V-Caps.
If phono is essential, let's not forget -tight tolerance- silver mica capacitors.
sample:
C3g phono module experiment with soviet silver mica and teflon capacitors.
Each of them has has advantages and disadvantages, but it's sound a matter of taste.
If this capacitor is well braking in (teflon capacitors need minimum 400 hours!, but other folie ones also requiring some hundred hours), the tone "difference" is minimal, and it depends on personal taste.
I use all of listed capacitors for decades, and nowadays mostly use teflon capacitors.
The clarity of good teflon capacitors mostly outperform folie capacitors .. except excellent -and expensive- ones (like Duelund silvers).
Russian teflons are "simpler" than V-Cap, but -for me- are better than "average" -good- folie capacitors ... and mostly cheaper.
Sometimes I use them with paralleled -smaller- V-Caps.
If phono is essential, let's not forget -tight tolerance- silver mica capacitors.
sample:
C3g phono module experiment with soviet silver mica and teflon capacitors.
I have had similar experiences to yours and mostly agree with your experience, particularly as such relates to sterility. My object is to begin with the highest clarity components and modify the surrounding networks to reduce/minimize sterility. The question is if the capacitors are the cause of sterility or do they reveal the potential sterility of the surrounding networks. Does a copper foil Teflon cap sound less sterile than an aluminum foil Teflon? Is it worth the US $400 + to go to copper foil V-Caps from Russian Teflons?
My current phono network is DC coupled (solid state), as to avoid the use of coupling capacitors. This also means low residual charge across the RIAA caps that could reduce or eliminate the burn-in times.
Bela these Welwyn RC55Y sound is very good, it's a pity that I can't Get a lot of resistance values....
The brown resistors are Arcol?
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If I remember correctly (it happens decade ago) these are 100R AB (Allen-Bradley) resistors.
I bought several hundreds 100R AB, and use everywhere as grid stopper or G2, G3 pull up.
I distributed them to my friends, and later run out it, so I had to buy some Arcol. 😛
Each CC (carbon comp) resistor good in these positions.
I bought several hundreds 100R AB, and use everywhere as grid stopper or G2, G3 pull up.
I distributed them to my friends, and later run out it, so I had to buy some Arcol. 😛
Each CC (carbon comp) resistor good in these positions.
Thanks for the above information! Do you have a recommendation for coupling caps between stages and as a final coupling cap?
Alas you need to have several to try to balance the sound of the whole when arriving at ears. I love also the MIT polystyrene that are certainly close, but sometimes it emphasis the low mid and inflat a little the bass : it migth be needed or not according the gears, loudspeakers, etc.
The best is to have a colllection of caps and spend, alas, time for the setup : it pays off a lot as a reward.
try also The Clarity MR and the expensive red one. Arizona caps make interessant cap according your sound is too much on the brigth side, etc !
It is really a work of balancing the sound, something none brand of individual gear can do in spite of you as there are no universal hifi system/room.
A lot of good advices in this thread that worth a complete read.
The best is to have a colllection of caps and spend, alas, time for the setup : it pays off a lot as a reward.
try also The Clarity MR and the expensive red one. Arizona caps make interessant cap according your sound is too much on the brigth side, etc !
It is really a work of balancing the sound, something none brand of individual gear can do in spite of you as there are no universal hifi system/room.
A lot of good advices in this thread that worth a complete read.
Hi John, I'm new here so I can't contact you in private but if you have time, please send me a pm as I would really like to ask you something about Parasound A21,bias adjustment and why there are differences in parts nr that they have inside! I have 2 black units, nr 5XXX and nr 6XXX, can't remember exactly. Hope I'll hear from you, all the best!
Hi
I am new to this group. I am trying to contact John Curl about the Mark Levinson LNC2 and changing the crossover modules frequency.
can anyone help?
Marc
I am new to this group. I am trying to contact John Curl about the Mark Levinson LNC2 and changing the crossover modules frequency.
can anyone help?
Marc
If you buy a bunch of 5% caps and look for one percenters in there, you may end up disappointed, as the tighter tolerance parts may have been sorted from the 5 percenters.
There's a guy in swap meet with a huge bunch of styrene caps, up to some big values, c 100n. If I hadn't just bought a bunch in the uk I'd have taken them all
I build phono stages that I sell, I think they sound really nice and so do my customers. I use Nichicon in the PS and filtering, Cornell-dubilier mica caps in the RIAA (1% if possible), Vishay MF resistors (I go with at least 2X the wattage rating required/spec'd) and Mundorf EVO aluminum oil for the coupling caps. Just how I build mine, YMMV.